The sequel to Deadmau5’s 2012 compilation finds the gimmicky antihero DJ helping out personally with two new songs to lead off the album, or maybe simply to set a baseline for the EDM newcomers who appear thereafter. Either way it matters little; whether it’s Zimmerman himself or any of the other guys, all of these things follow the playbook: cut-paste EDM and Eurotrash-house beats interrupted by bursts of Ed Banger-approved sub-bass splatterpunk, maybe a lilting tropical interlude or drug-head sample here and there. In other words, a lot of people will like it just because it’s moar Deadmau5 and a lot of people will hate the likers for liking it. Of course, the real innovation — remember that we’re in the reality-TV age — centers on Zimmerman’s Twitter wars; he rightly called Madonna an idiot for her smarmy little hipness-check of “Molly” at the Ultra festival, and there are plenty of bad guys on his tail for admitting that arena-DJs don’t really do anything at all with their knobs and things when playing live. As such, he’s the Millennial version of Pete Townsend in a way, griping all the way to the bank. B